#opera gowns

[welcome-to-ratterrock]

One of the opera gowns Sorcha inherited from her mother.

Evening Dress

c. 1907-1909

Madame Laferrière

The National Museum of Norway

[operafantomet]

Chiara Donato's design for Christine's 2nd Manager "Wishing" dress, as used in Italy, Monaco and Spain ( from here )

[chic-a-gigot]

L'Art et la mode, no. 43, vol. 17, 24 octobre 1896, Paris. Toilettes de soirée. Dessin de Nada. (Parfum " Fleurs de France”, de Jones). Bibliothèque nationale de France

Robe en crêpe de Chine brodé gris argent. Choux froissés en taffetas rose de trois tons dégradés, formant garniture sur le côté gauche. Chaîne de diamant sur l'épaule droite.

Dress in silver grey embroidered crepe de chine. Crumpled choux in three shades of pink taffeta, forming trim on the left side. Diamond chain on the right shoulder.

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Sortie de bal très nouvelle, en satin blanc et hauts volants de Chantilly posés sur un premier volant en mousseline de soie blanche. Collerette en mousseline de soie blanche.

Very new ball cape, in white satin and high Chantilly ruffles placed on a first ruffle in white silk muslin. Collar in white chiffon.

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Toilette d'Opéra en velours "capucine". Revers et manches longues en guipure d'art. Epaulettes de velours bordées de zibeline comme les revers.

Opera ensemble in "capucine" velvet. Lapels and long sleeves in art guipure. Velvet epaulettes edged with sable like the lapels.

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Toilette de jeune fille en taffetas "azur". Entre-deux d'Irlande et volant plissé en mousseline de soie assortie. Epaulettes faites de pétales de roses roses.

Young girl's ensemble in "azure" taffeta. Irish entre-deux and pleated flounce in matching chiffon. Epaulettes made of pink rose petals.

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Toilette en tulle noir constellé de paillettes. Manches papillon et ceinture à longs pans en tulle "glaieul".

Black tulle dress studded with sequins. Butterfly sleeves and long-tailed belt in "gladiolus" tulle.

[lacetulle]

Paolo Sebastian | Luminary

[prismagirlart]

waiting for the doctor to get here sure hope he doesn’t diagnose me with terminal christianity

[littleeliza-lotte]

You’ll never guess what I’m seeing tonight for the 11th time

[gigiprinceton]

A Great Big Thank You to Bob @bob--and--friends

For taking one of the images that I had made and upscale it, also using face swap to add my face to it..

I am so excited to learn all these new tricks...

[marzipanandminutiae]

Hot Take

museums should label 19th-century women’s clothing primarily by formality (except in the case of garments with specific purposes, eg. “cycling costume” or “nightgown”), not by the 10,000 different terms they might be called at the time

my reasoning is that the current hodgepodge of terms, while technically accurate to the period:

1. reinforces the myth that middle- or upper-class women used to always change their dresses many times a day No Matter What, rather than what seems to me the primary-source-supported reality- that they changed situationally, as necessary

2. promotes unnecessary disconnect between the past and the present. we have varying degrees of clothing formality today, just without specific terms for each one. they had garments that could serve for multiple purposes and be dressed up or down with accessories back then. but because we don’t talk about an “afternoon dress” vs. a “ball gown” and they didn’t talk about the dress code for a party being “nice casual” vs. “dressy.” there’s this false idea that our systems of clothing changes/formality are Totally Different. which is really not the case, I think

3. even they couldn’t agree on what to call each individual outfit! I’ve seen fashion plates in magazines where the textual description and the label on the image give the same dress different names

this post brought to you by: Marzi Has Seen Too Many Gowns Labeled “Evening Gown” On Museum Websites Apparently For Their Formality When In Truth They Do Not Have The Single Factor That Usually Made A Dress Strictly For Evening At The Time (namely, revealing more skin about the chest and arms) And Therefore Would Have Stood Just As Well For Formal Daytime Events

[mahoganygold213]

Da’vine Joy Randolph @ the 2024 Vanity Fair Oscars After Party

[auroraprism]

Broadway style & West End style Wishing Dress~

just a quick drawing👀

Sorry, I'm too lazy to clean the line draft 😂😂

[ai-satin-chic]

Even if you don't like the opera, there's plenty of reasons to go.

[operafantomet]

The original Australian / World Tour dressing gowns

These versions differs a bit from others, first and foremost the broader shoulders and the draped-up sleeve adorned with a bow, as well as the rose-trim-decorated square belt. The sturdiness of the bodice is balanced with an extra broad ruffle at the skirt hem.

Often the bodice is made of a sheer fabric, and the skirt of a thicker floral silk, but the skirt ruffle is made of the same fabric as the bodice. The bodice ruffles are usually lace, as are the engageants.

The belt back has distinct curves, which was also seen in the early European versions as well as most US ones. The dressing gown is usually tied at the side with satin ribbons matching the bow of the cuffs, as well as snap buttons.

Marina Prior and Sharon Millerchip, Melbourne

Danielle Everett, Australian Tour

Danielle Everett, Australian Tour

Marina Prior and Rob Guest, Sydney

Marina Prior and Anthony Warlow, Melbourne

Marni Raab and Jee Hyun Noh, Taipei / World Tour

Robin Botha and Cat Lane, Johannesburg

Lana English, Cape Town

Emilie Lynn and Jonathan Roxmouth, Manila / World Tour

Kim So Hyun, Seoul

Ana Marina, Australia / World Tour

Emilie Lynn and Ian Jon Bourg, Istanbul / World Tour

Marni Raab and Brad Little, Shanghai (?) / World Tour

Robin Botha, Johannesburg

Claire Lyon, Manila / World Tour

Hyun Ju Choi and unidentified, Seoul

Robin Botha and Jonathan Roxmouth, Johannesburg

Claire Lyon, Taipei / World Tour

Magdalene Minnaar, Johannesburg

Kim So Hyun, Seoul

Dressing gown on display in Shanghai

Dressing gown on display in Istanbul (different trim and skirt)

Dressing gown on display in Istanbul

Dressing gown on display in Hong Kong

Dressing gown on display in Istanbul

(original design by Maria Bjørnson)

[chic-a-gigot]

L'Art et la mode, no. 43, vol. 17, 24 octobre 1896, Paris. Toilettes de soirée. Dessin de Nada. (Parfum "Bouquet Pompadour”, de Jones). Bibliothèque nationale de France

Corsage-cuirasse en guipure. Ceinture et chou en satin Liberty "dollar". Jupe de velours noir.

Guipure bodice-cuirass. Liberty "dollar" satin belt and cabbage. Black velvet skirt.

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Toilette style Louis XV, en gros broché paille lamé d'or. Jupe et fichu en mousseline de soie "sauterelle".

Louis XV style toilet, in large straw brocade with gold lamé. Skirt and scarf in "grasshopper" silk muslin.

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Toilette d'Opéra, en crêpe de Chine noir indéplissable. Jupe "Soleil" et pavots "capucine".

Opera ensemble, in black crepe de chine, unwrinkled. "Soleil" skirt and "nasturtium" poppies.

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Toilette de jeune fille, en organdi blanc. Ceinture et empiècement en galon d'or brodé de turquoises.

Young girl's ensemble, in white organza. Belt and yoke in gold braid embroidered with turquoise.

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Toilette en moire nébuleuse "liseron". Garniture en ruban de velours "Brugnon".

Toilet in "bindweed" nebulous moire. Trimmed with "Brugnon" velvet ribbon.

[awindinthelantern]

Costume for Ganna Walska as Mélisande, 'Pelléas et Mélisande', 1931

designed Erté (Romain de Tirtoff) (Russian, active France and United States, 1892-1990)

Silk voile Center back length: 95 in. (241.3 cm) Purchased with funds provided by Rita and Ross Barrett, Costume Council Fund, and gift of Anna Bing Arnold (M.87.80.31) Costume and Textiles

[satansxknitwear]

Accidental snow white inspired look i guess

Treat me ~ Tip me

[littleeliza-lotte]

West End Live 2023, Phantom of the opera